Friday, September 23, 2011

sasha frere-jones | merrill garbus

once the band has kicked in, nothing
can distract you from
the clarity
and oomph
of her voice,

a gorgeous instrument
that slides through dissonant squeaks,
flattening, pure tones,
and various throat noises.

she throws herself into her singing with equal parts
and poise,
as if she's frustrated
that music isn't

from Critic's Notebook "Going Yard,"
The New Yorker, Sep 19, 2011